Welcome to Razorcake | DIY Punk Music | Punk Bands | Punk Rock Bands | Punk Magazine Welcome to Razorcake | DIY Punk Music | Punk Bands | Punk Rock Bands | Punk Magazine
 

























· 1:Punk Parenthood for the Sleep Deprived
· 2:#330 with Craven Rock
· 3:#329 with Daryl Gussin
· 4:One Punk’s Guide to Poetry
· 5:Featured Zine Reviews from Issue #81


Subscriptions
New Subscriptions
Renewal
Stickers and Buttons
The NEW "Because We're Fuckin' Classy" Koozie


Hurula, Vi ar manniskorna vara foraldrar varnade oss for LP
Razorcake #81
Razorcake Ouija Slip Mat
Nights and Days in a Dark Carnival by Craven Rock
Chantey Hook, Underground 7" *Limited Color Vinyl


Can't find Razorcake at your favorite store? Lend us a hand and we'll send you a free issue.



Razorcake will send you one free issue if you ask your librarian if they would carry Razorcake in their stacks. (This offer is good for both traditional libraries and independent libraries.) To get the free issue, you must send us the librarian's name and email and the library's postal address. We will then contact them directly and donate a subscription to them. U.S. libraries only, due to postage.

No Idea Records

Record Reviews

1 2 3 4 5 6 7 8 9 10 11 12

| 0-9| A| B| C| D| E| F| G| H| I| J| K| L| M |

| N| O| P| Q| R| S| T| U| V| W| X| Y| Z|

Below are some recently posted reviews.

RSS Feed

EVERYTHING NOW:
Spatially Severed: CD
Fairly pedestrian college rock stuff from a band that sounds like they’ve played more than a few bar back rooms. Ho-hum at best. –Jimmy Alvarado (MFT)


ENERGY:
Race the Sun: 7" EP
Absolute shit. Sounds like AFI. Not good by any stretch. Watch the pretty purple explode as I whip it across the room towards the wall. So I guess only 999 copies of this turd remain. –Matt Average (Bridge Nine, www.bridge9.com)


DESTRUCTORS 666 / THE RUINED / PUNKY REBEL MEDIA:
888: CD
Okay, Destructors once again rock me with three songs of reliable ol’ punk played well. Love their androgynous, carefree lyrics. They cover a Flamin’ Groovies song, if that means anything to you. The first track by The Ruined has a more hardcore influence, with a sort of strained, hoarse vocal that could be called emo, but more like the early ‘90s style, when that word wasn’t an insult. Their second track, I was thinking sounded kind of like ‘90s alternative, when my roommate came by and made fun of me for listening to what we finally recalled as being a Sponge cover. Which I, ahem, kind of liked. Punky Rebel Media have the last track on here and, damn, it was pretty fucking annoying, even more so than their name. Get it for the first five tracks. –Craven (www.destructors666.com)


DILLINGER FOUR:
Civil War: CD

This is interesting; here we have a writhing Wesson Oil Party of Razorcake writers all focused on one album—an unprecedented orgy of sweaty opinions and impassioned squeals of delight or grunts of derision—and I find myself feeling some trepidation about whether to join in or not. Because of the fact that I hail from D4’s hometown and frequent the bar where St. Patrick works, I feel reluctance about all this, similar to what one would feel by the prospect of doing body shots off GG Allin, back when he was still alive and covered with blood and boogers and bile. But the truth is that, unlike the other reviewers gathered here to say smart and insightful things about D4’s newest offering, I stand a chance of inadvertently building—and then stepping into—my own booby trap. Simply by virtue of the measly little opinions I decide to decorate this review with. You see, underneath that lumberjack beard and churlish demeanor, Paddy’s a pretty sensitive guy, prone to feeling spurned. And as everyone knows, the power we Razorcake reviewers wield packs more of a wallop than a falling cement truck full of dung and American Idol judges. So all it would take is for me to type out one or two indelicate criticisms wrapped in bon mots and god only knows what foul surprises might wind up hidden in my food and drink next time I’m at Grumpy’s Bar when Paddy’s on duty. I shudder to think of what sort of crimes against nature could be committed with an order of “tater oles” (tater tots stuffed with Mexican cheese) and his famously naked backside—and then served up to a poor, dim-witted reviewer, too drunk to notice odd flavors and unusual textures. Nevertheless, I will soldier on. I took this job knowing full well that someday the butterfly effect of my words would eventually boomerang back to me in the form of a spurned, vengeful musician. So maybe it would be in my best interest if I kept this fairly short and sweet; get in, make a point or two, and get out, quick as a wink. Maybe that way I’ll go unnoticed in this churning sea of D4 reviewers and I’ll be able to eat my next order of tater oles without worry of retaliation through befouled bar food.

So here it goes: Dillinger Four has always had, for me, a Janus-like two-faced quality, personified by the characters of Patrick Costello, on one hand, and Eric Funk on the other. It’s an admittedly oversimplified take on a band as complex as D4, and it’s not meant as a slight to the other two band members, but it does point out the apparent split personality of the band. And it’s always been that split personality or balance of opposites that, in my mind, made them a band unlike just about anyone else. From their early days of smelling OK Soda through to Situationist Comedy, there’s been a healthy balance of light and dark, sweet and sour, smooth and abrasive, gentleman and cad, Twinkies and meatballs. Or, to put it another way, D4 is a musical example of vagina dentata; which is to say that the band has always had a way of luring you in with well-crafted pop punk melodies and then taking you off at the knees with brutal blasts of hardcore savagery. But if this balance can be even crudely represented by vagina dentata, then Civil War is an album slightly out of balance, an album that doesn’t have quite the same bite as their older stuff. Could it be that they’re suffering from a bad case of torpor brought on by eating too many orders of tater oles with Fat Mike? I don’t know, but, whatever the case, it seems like the gentlemanly side of the band’s personality has fought off the caddish side on this recording. And I was always partial to that rawer, more unruly side. But this is still unmistakably Dillinger Four, even if it is a more refined version. So I’m not sure there’s anything to what I’m saying or not. That vagina dentata crap might be a stretch. Hell, right out of the chute I already really like “paris Hilton is a metaphor,” “Minimum Wage is a Gateway Drug” and “AMERICAS PREMIERE FAITH BASED INITIATIVE.” They rock damn good.

And, really, how can anybody flat out not like D4? They’re smart, fun, funny, and well-thought-of—pretty much everything you could ever want in a date. Plus, they look good naked, as anyone who’s seen them play live knows. But here’s a fact worth considering: though one of the cardinal rules of reviewing anything is to never admit your own fallibility, the truth is I’ve owned this CD for about two weeks now and have not listened to it anywhere near as much as I prefer to when I’ve got my serious reviewing pants on. It could well be that a couple weeks from now—after I’ve listened to it more and under louder and drunker circumstances—I won’t have any idea what I’m prattling on about here in this review.

Believe it or not, that sort of thing has happened before. If I know anything about this band, it’s that their stuff seems to grow on me over time. So I hope I’m not setting myself up to look like a laughingstock; I’m not saying D4 is now indistinguishable from the Jonas Brothers or anything like that. I honestly don’t think these guys are capable of putting out something that’s not at least very good. But maybe that’s it—they’ve just kept the bar so high for so many years that anything that doesn’t immediately bowl me over seems like a slight let down. Until it doesn’t anymore. But now I’m running the risk of coming off as an equivocating laughingstock. And since Paris Hilton isn’t the only metaphor strutting around out there, I’d better just stick with the mule of a metaphor that got me to this point in the review, which is the vagina dentata metaphor. So I’ll leave it at this: as good as Civil War is—and as great as it may become—I’d still like to see D4 sharpen those teeth back up to an evilly sharp point again. –aphid (Fat)


DILLINGER FOUR:
Civil War: CD
Though Todd tried mightily to get me to see their inherent awesomeness, I was not an instant convert to the Dillinger Four clan of crazed fan-geeks. I never thought they sucked, but I just couldn’t get what all the hullabaloo was about. Slowly but surely, though, their smart-silly persona, witty lyrics, and arsenal of stealthily catchy hooks won me over. On this latest album, their charms are in full evidence, with said hooks battering you ’round the noggin this time around instead of sneaking up from behind, and seriously tight performances of this gaggle of consistently solid tunes making for one fine listen. Yeah, it may have taken me a while, but you can hand me my D4 pocket protector, ’cause a full-fledged fan-geek I be. –Jimmy Alvarado (Fat)


DILLINGER FOUR:
Civil War: LP
This record is like an optical illusion, first seeing a vase, then looking at the same drawing and seeing two people facing each other. One time I hear pop punk compromised by slick production—guitar sounds that are big but soft, vocals with too much gloss. The next time I’m focused on the brilliant lyrics and the fact that Dillinger 4 has more heart than just about any other band on the circuit. Each listen volleys between these two extremes. There’s a lot to scrape off here and I’ve yet to hear the actual songs, the substance as opposed to the style, clearly. But I keep going back. I think the latter will win out, but it’s a qualified recommendation. –Mike Faloon (Fat)


DILLINGER FOUR:
Civil War: CD
This is the first Dillinger Four record in six years. A lot has happened since then—a couple Snakepit books, some Ramones’ funerals, another term of President Bush, a cornball major label band called D4 who confused the fuck out of me in the now out-of-business Tower Records—but these fellas haven’t missed a beat. They’re still playing dynamic, pounding, insanely catchy, multi-vocaled, fast melodic punk with soundbites and amusing song titles (“Minimum Wage Is a Gateway Drug,” “Like Eye Contact in an Elevator”). They slow it down a couple times, and it’s great to hear some genuine pop coupled with smartass political punk. Most bands approaching this level of catchiness are juvenile in a bad way, or just whine about girls. These guys are one of the most influential bands in the thoughtful pop punk scene that Razorcake covers, their live show is hilarious and incredible, and this CD hasn’t left the boombox in my kitchen for the last two weeks. Civil War is a terrific surprise from a band who were becoming more of a “was” than an “is.” –CT Terry (Fat)


DILLINGER FOUR:
Civil War: CD
When you write record reviews for various zines, you find yourself in the position of hearing a lot more bands than your average music fan. Most are forgettable, some are great or even downright amazing, and then there is that small handful of bands that change your life. Dillinger Four is one of those bands. I can remember exactly where I was when I first listened to Midwestern Songs of the Americas and I remember how it made the hairs on the back of my neck stand up. In the ten or so years since then, I’ve anticipated every record the band has released. I buy them, listen to them, and quickly grow to love them, but they have all seemed to be missing that little spark that the first one had. I can tell you right now that Civil War is now my second favorite D4 record. It is really close to having that same feeling that the first record has. My heart skipped a couple of time when I listened to it, and that’s a good sign. The band slowed the overall tempo the tiniest bit and the songs don’t switch up as quick as an ADD kid with the channel changer, but it doesn’t take away from the power of the entire record. I also think that (like Midwestern Songs…) it is meant to play as an album as a whole. It all goes together. Now they just need to work on shortening the time between records! –Ty Stranglehold (Fat)


DILLINGER FOUR:
Civil War: CD
These guys have never let me down! That being said, this is a good record, although it didn’t seem to slap me around with the same intensity I initially felt for, say, Versus. God. Minneapolis’s forever reigning kings of pop punk still manage to reinvigorate an otherwise stale genre of music for me. Everything is still there: witty, sarcastic song titles (“Minimum Wage Is a Gateway Drug,” “America’s Premier Faith Based Initiative”), the raspy vocals and super melodic guitar, and the distorted, punchy bass lines Patty poops out. For a first time listener, this record would probably whet their whistle and make ‘em wanna dig deeper. I hate comparing records, but still find myself more inclined to throw on the older stuff, though. Maybe this record just seems to sound more downbeat than the older stuff. Regardless, this band is always worth checking out! Throw it on loud with a few beers under your belt and it still rocks! –Buttertooth (Fat)


DILLINGER FOUR:
Civil War: CD
There’s a catch when your first full length is a classic: how do you follow it up? Even if you come back with something just as great, even if the aesthetic is a little different, you’ll still get, “Well, it’s no FIRST record…” I bring this up because it’s easily been D4’s greatest obstacle over the years, all of their output getting “But, Midwestern Songs, dude,” which is pretty cheap. For once, I will buy the “This is way more polished” argument, but at this point, I can’t help but find it a reminder that at heart, this is a pop punk band with a full-on Motörhead attack (and nuts the size of grapefruit). And while, yeah, it isn’t Midwestern Songs, you’d have to be a jerk to deny that there aren’t a handful of new classics on this one. –Joe Evans III (Fat)


DILLINGER FOUR:
Civil War: CD
The early Dillinger Four EPs never stood out for me. I had no strong feelings about the band either way until I lived in shitty Madison, WI for three years from 1998-2001. I traveled a lot to Chicago and Milwaukee during my time in Madison for shows, but certain regional bands played Madison constantly, including Dillinger Four. The first time I saw them live was in 1998 and they blew me away. Their energy and stage presence was overwhelming. I literally ran out the next morning and picked up their debut full length, and was disappointed. It may seem like a classic album now, but Dillinger Four was so terrific live that the recorded versions of the songs paled in comparison. I recently saw D4 play some of these new Civil War songs on stage and I feel the same way now. What was awe-inspiring live isn’t nearly as incredible on the recording. The production is excellent, so I’m kind of flummoxed as to what I’m not crazy about. I’d go see D4 play a show tonight if I had the chance, but I won’t be listening to Civil War at home again any time soon. Fans of their other albums will likely love Civil War. For those that don’t “get” D4, go see them live. You’ll understand instantly why so many people are obsessed with them. They’re easily one of the best live bands on the planet. –Art Ettinger (Fat)


DILLINGER FOUR:
Civil War: CD
So, this is it. It’s finally here. It’s been six long years since Situationist Comedy came out (well, honestly, I’ve only been waiting for a new record for maybe three of those years. I was not quite yet twelve when Situationist Comedy came about, and I was still listening to Pennywise records), and now we can finally breath easy. I would like to think that roughly two months after this has come out, I’m over the excitement of first hearing it and can now do a hype-free review. I had no idea what to expect going into this. All I wanted out of this was for it to not be a total shit-fest. It’s not. In fact, it’s one of the best albums they’ve put out yet. Granted, it’s no Midwestern Songs of the Americas, but what else possibly could be? I feel like this is either on par with or not far behind Versus God. However, this isn’t your average Dillinger Four record here. The most noticeable change is that the “wall of noise” that they were known for has been replaced with cleaner production. However, the record still has just as many hooks and just as much bite as any record before it. Credit is due to the artwork as well. It’s hard to appreciate it when looking at the CD cover, but the LP sleeve shows how much went into creating this (yes, the penguins really were painted right on to the flag). This is getting to be a rather long-winded review, especially as far as my style goes, so I’m going to wrap this up. The music world in 2008 was a place of violent ups and downs, but when the needle plunked down onto this for the first time, I knew everything would be alright. –Dave Dillon (Fat)


DILLINGER FOUR:
Civil War: CD
Six years in the making, this is one of D4’s best albums. They continue their lyrical onslaught of American culture with honest, fatalistic lyrics matched to galloping guitar rhythms and solid drum work. Some of my favorites are “Minimum Wage is a Gateway Drug,” “The Classical Arrangement,” and “A Pyre Laid for Image and Frame.” Inspirational, comforting, kick-ass tunes. Recommended. –Kristen K (Fat)


DILLINGER FOUR:
Civil War: CD
Never listened to Dillinger Four before because my friend heard them at some barn party and he mentioned that you, “Can’t even square dance to their music,” so I blew them off. But, whatever, that guy’s an asshole, and this CD came to me with an enthusiastic recommendation from Todd Taylor. Definitely, I trust Todd’s taste in music because I went to Fest this year never having heard more than four of the bands that were playing, so I just went by who had been featured in Razorcake, and I heard more great music that weekend than I had found by myself in years. Listening to Civil War adds to that credibility in my mind, because this CD has quickly found a place in my heart and the rotation on my CD player. The urgent feeling of this album is what makes listening to it exciting: the music is driving and the vocals are raspy and almost whispered, so it’s like the singer has to hold back or he’ll fucking explode. And then reading through the lyrics and seeing the depth of these perfect, catchy three-minute songs is kind of mind-blowing. “The Classical Arrangement” is an obvious standout, but I don’t want to call any one song a favorite, because I want you to understand that pretty much everything on here is gold. I don’t give a fuck about what anyone else in this one-horse town thinks when I blast this CD on full volume at five AM when I wake up to milk the cows. –Lauren Trout (Fat)


DILLINGER FOUR:
Civil War: CD
Living one state over from these guys, i can say that i’ve not only seen them a bunch of times, but our bands have played together a bunch of times, i’ve drank with them a bunch of times, partied with ‘em a bunch of times, lent gear to them a bunch of times, borrowed gear from them a bunch of times, spilled drinks on the gear i’ve borrowed from them a bunch of times and had drinks spilled on the gear i’ve lent to them a bunch of times. One could say that my exposure to D4 has been, shall we say, “reasonably ample.” Now, here’s the weird thing: If you pressed the cold steel muzzle of a fully loaded Walther PPK semiautomatic pistol against my temple and told me that the only way to save myself from perishing at your hand was to hum, sing, recite, quote, or otherwise convey a brief portion of the essence of a D4 song—any D4 song—then you, sir, would be mopping my brains up off the wall and buying lime for a hastily improvised grave, because, even after my self-reported “reasonably ample” exposure to D4, i could not hum, sing or otherwise croon five seconds of any of their songs. Don’t remember any of ‘em. Don’t remember a PART of any of ‘em. I’ve seen Dillinger 4 a SHIT ton of times, and i couldn’t tell you what one song of theirs sounds like ((i could, however, recite a few of their great song titles off the top of my head—“The Television Will Not Be Revolutionized” being a personal favorite)). Contrast this with Bill’s pre-D4 ((and i think even pre-Scooby Don’t)) Blatant Queers rip off band, the Krishnaz—whom i’d only seen once or twice, but can still sing the last line of that song about the girl who was no longer straight edge ((which is, for the record, “she’s lost her right to pledge the edge,” and no, i’m not making this up)) and maybe a few bars about the song about living in a SuperAmerica™ for good measure. I mean, i saw the Krishnaz once or maybe twice, and i can still remember a part of a song—i’ve seen D4 a good dozen times, and i can’t remember a god damn note they played. Now, that is not to say that the Krishnaz are/were a better band than D4, ‘cause they weren’t, but it’s just frickin’ WEIRD that i should be so reasonably well-acquainted with their music, yet still fail to remember a friggin’ second of it. When people ask me what D4 sound like, i usually just tell them “amnesia.” Maybe when Pat gets naked, my mind just deletes all related memories as some manner of preventative health measure, i dunno. In any event, “Summer in October” is a decent enough opening track; it sounds like top-tier Mutant Pop™ bands like the Connie Dungs for the first two minutes, then goes into kind of an extended, minute-plus breakdown, then comes out of the breakdown playing at half the speed, essentially ignoring the catchy ((dare i say “memorable?”)) chorus for the last three-sevenths of the song and sounding kinda like those “punk” bands one hears over the radio at Taco Bell™, minus the whole singing-thru-the-nose bit. The whole “completely switch up the song at the two minute mark” is the EXACT type of thing that would damage my ability to remember what the hell went on prior to that particular musical event; me, i would have instead opted to say “it seems like summer in October” about twenty or thirty more times, just to drive the point home that it, in fact, seems like summer in October. The second song sounds a bit like D4’s Twin Cities mod counterparts, The Strike, but i don’t have a track listing and i can’t tell what the song is called, so i’ll never remember it ((although it does have another one of those wacky breakdowns that i more or less flat-out hate)). I’ll call it the “break your fucking halo” song. The third song is apparently called something like “Dis-American Me,” and sounds sort of like Screeching Weasel with an old, drunken priest on lead vocals. I would kind of remember this song, except for the unfortunate scheduling event whereby it happens to be coming out right when we marginalized Yankee weirdos feel the least like being Dis-Americanized as we’ve felt in the last quarter-century or so. Song four is like a power ballad or something. The fifth song is about cannonballs, and the sixth song is fast. The seventh song sounds like the Riverdales with the same drunken priest on vocals. The eighth song is some sort of near-anthem, except i have no idea where or what the chorus is. “Paralyzed From the Neck Up” sounds like mall-punk’s un-evil twin, as does the tenth song, but that one’s about cigarettes or something. I have no idea what the eleventh song sounds like, but it has some weird breakdown where the chorus should be. The twelfth song sounds kinda like “The Noose Was Tight” by the Figgs, but not really. The guitar seems to be mocking me personally. Don’t think i’m not taking notes on this insubordination! “Pretty Little Casualties” is a rousing, album-closing, priest-led stomp, with another one of those stupid breakdowns gumming up the works, though said gumminess is mercifully brief. After deep, post-album introspection, i’ve come to the conclusion that the disconnect i feel with D4’s music stems from the fact that i generally can’t figure out what or where their choruses are, or if their songs even have choruses. Throw in a few breakdowns and tempo-switches and i’m completely lost, like i came in in the middle of a movie, sat through a bunch of acts, then left, and it was still the middle, although by and large i was enjoying the film. My suggestion is to eliminate the breakdowns, append “Yeah Yeah Yeah” or similar mnemonic device to the ends of all song titles, and insert choruses consisting of nothing but the song title repeated some power of two times, e.g., “Paralyzed From The Neck Up, Yeah Yeah Yeah! Paralyzed From The Neck Up, Yeah Yeah Yeah!” Ah, now THAT’S slick songwriting! BEST SONG: “Dis-American Me” BEST SONG TITLE: “Paralyzed From The Neck Up, Yeah Yeah Yeah” FANTASTIC AMAZING TRIVIA FACT: Pat lived in nearby De Pere for one semester and attended St. Norbert’s College. –Rev. Norb (Fat)


DILLINGER FOUR:
Civil War: CD
It’s strange that D4’s become such an important band to me after years of resistance on my part. At first, I think I had them confused with Dillinger Escape Plan, so I’d never pick it up. Then, this rad dude Barney bought me the split with Pinhead Gunpowder. That should’ve done the trick, right? Nope, probably never even listened to their side. So when, years later, Todd Taylor forced Midwestern Songs on me, all I heard was a bunch of samples and other hoo ha in between the songs. But then, again due to Todd since I borrowed his truck for a few days and it was the only CD in there, I listened to it. Over and over and over. And at somewhere close to the halfway point of those seventy-two hours or so, it just clicked. I never had a mild like in between. Disdain to enamored and instantly hungry for more, listening to everything I could find. They are pretty much everything I believe in, to state it simply. Talk to any of them one night and it will be the dumbest conversation about what a fart can tell you about a person, but then the next night, the conversation is just as likely to leave me walking away with a list of things I need to read because I just felt like a moron. They understand that balance of smart and funny, of fun and anger, of knowing what battles are worth fighting. I mean, shit, my dad called me one day after reading an interview with them to tell me that he finally understood my life, and I thought that was pretty fucking perfect. So, given their place rooted so deeply in this bum ticker of mine, I’ve been waiting for this album since Situationist. When the first track came on, I swore it was Jawbreaker. It’s nothing against Jawbreaker; I downright adore some of it, but it’s just not right here. It’s the recording. It’s just too clean for me. The songs are solid and growing on me, and live they’re awesome, but it’s taking some time. I want it to be a bit uglier and raw, but, I’m sure as I did initially, I’ll come around. –Megan Pants (Fat)


DILLINGER FOUR:
Civil War: CD
I’ve just been ear-raped with a pixie stick. –Craven (Fat)


DILLINGER FOUR:
Civil War: CD
I’ll leave the technical analysis of this album to the staff who will pick up on the nuances (so I don’t have to). I liked the first D4 album a lot, but it was raw, angrier, and more accidentally poetic. The song titles were more academic and I was in a completely different place, emotionally and geographically. Bloated, extraordinarily poppy and over-produced, I think I’ll scrub off with some Screeching Weasel. From the bathroom, Tom yells, “It sounds like an utterly generic, prep school TV-show soundtrack for bubblegum teenage vampire slayers.” ‘Nuff said. –Jessica Thiringer (Fat)


DILLINGER FOUR:
Civil War: CD
I have spent the last six years waiting for a new Dillinger Four and Avail records. Thankfully, one of them has arrived and what a record it is! This is simply an incredible record and a welcome comeback for one of the best punk bands of all time. I’ll be goddamned if I can name you my favorite songs because I do not have a photographic memory, but this thing is solid from start to finish. D4 continue to be, maybe, the only band I have ever heard who utilize sound clips in a non-annoying fashion. I hate the fuckin’ things, but, somehow, this band really makes them work. Great record, great songs, great production, and worth the six year wait. What’s up now, Avail? –Mike Frame (Fat)


DILLINGER FOUR:
Civil War: CD
I have a couple of records by Dillinger Four that I like, but I’ve never been an absolutely huge fan. Like ‘em, especially certain songs, but they never blew me away or anything. That said, I have nothing but rave reviews for their newest album, Civil War. It could be because I got it on CD so I’ve been listening to it on headphones and outside the house (unlike vinyl), or it could be because it’s one of their best records; regardless, I’ve been listening to it nonstop for the past three days or so. Catchy as hell, with great hooks and lyrics (although I wish I had them written out in front of me so that I could check them all out properly). First song to get played multiple times in a row: “Gainesville.” Other standouts: “Ode to the North American Snake Oil,” “The Classical Arrangement,” “The Art of Whore,” “Fruity Pebbles,” “Like Eye Contact in an Elevator.” Clearly, I will be going back to the other albums I have and giving them a lot more attention. Love it. –J. Federico (Fat)


DILLINGER FOUR:
Civil War: CD
Ever since my ear first caught “Double whiskey coke no ice,” I’ve loved Dillinger Four’s insightful vitriol, but after six years without a new album, they seem to have eased up a bit on their frequently delayed new opus, which is more than a little alarming. Sure, the long-awaited LP sports D4 hallmarks like songtitleswithnospaces and the odd imagery, but the affair is considerably softer than the band sounds at its best. The increased amount of melody allows the songs to grow catchier, but where’s that impassioned fire, that rabid spite from the force behind “New Punk Fashions for the Spring Formal”? –Reyan Ali (Fat)


DILLINGER FOUR:
Civil War: CD
Dillinger Four’s song titles have a way of making you think you’re not thinking enough; yet the songs open you up to messages you’ve been waiting your whole life to receive. Maybe that’s what nostalgia is: the creep of lost knowledge. The dynamite goes off in the basement and you run to the sound, through the flash and the smoke. For what? There is no what. No mission or duty or purpose, just this welcoming chaos in our lives we proudly call punk rock before it spits us out into a stream of recognizable rhythms that guide us out again so that when we stand at the frontier we have the strength to go in either direction. Here’s another house collapsing; are you ready? –Jim Ruland (Fat)


DILLINGER FOUR:
Civil War: CD
Dillinger Four is my favorite band, so it’s going to be impossible for me to review this one without the bias of history and familiarity. I think most people reading this have heard at least one of their albums, though, so we’re all in the same boat…right? Okay. This time, they deliver something a little thinner and less immediate than their past albums, but it is still very good stuff. The tracks are comfortable and familiar without sounding recycled, and while you don’t the soul-pummeling beatdown that you did with Versus God, you still get an enjoyable record with some amazing songs. We’re all getting older, including Dillinger Four, and it seems they’re aging pretty damned well. –Will Kwiatkowski (Fat)


DILLINGER FOUR:
Civil War: CD
And here comes this record, a record that has so many people anticipating for it to come out with such retardedly high expectations. Many of my favorite bands use D4 as a positive influence for their own music. There are times where I play a record, just praying to the dark Underlord Gods of Rock that it doesn’t suck, and when I found myself placing this CD in the player I whispered, “Please don’t suck” over and over until it started to play. Then the song would end and the silence in between was filled with my wishes for the next song to not be dumb. Records are kind of like piñatas in that you just hope for something in there to be good. And if there is just one really cool thing in there, then it was worth busting open. Fortunately, this album was filled with several musical treats that are worth your while. Heartfelt lyrics with arm-raising tunes show that these dudes may be getting older but are in no way fucking around. This album is not better than their other albums and it’s not the best thing that came out this year for me, but I respect it and will continue to listen to it and warm up even more to each song every time I push play. I, particularly, have warmed up to the little ditty about summer in October and I recommend that you do, too. –Corinne (Fat)


DILLINGER FOUR:
Civil War: CD
Actually I didn’t get a CD but a CD-R. Also, I don’t have the tracks in the right order, don’t know the song titles, have a cover, or much of a clue in general. I was introduced to D4 from none other than Superfan Todd. Started right around the middle with Midwestern Songs of the Americas and found my favorite song by the band, “Noble Stabbings!” off the Situationist Comedy CD that followed. I admit that I have not listened to this band much through the years since, with the exception of the song I stated that I have downloaded on my iPod. It’s due to my neurotic passion of music accumulation that is an overbearing storage issue and doesn’t give me a lot of repeat listens on a lot of music. I gave it a three listens and feel the need to have more listens to give it more time to grow on me. The familiarity of the formula is there, but the new nuances that they have incorporated in these new recordings are what I seem to be focusing on, instead of hearing them as whole packages. Song four, that really isn’t song four, is almost ballad-like with its slow-driving rock sound interlaced with a beachy feel that reminds me of the Pixies. That track is, so far, my standout track. Overall, I need to keep this one in the pocket a little longer to see how high it gets in my “like” level. –Donofthedead (Fat)


1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 129 130 131 132 133 134 135 136 137 138 139 140 141 142 143 144 145 146 147 148 149 150 151 152 153 154 155 156 157 158 159 160 161 162 163 164 165 166 167 168 169 170 171 172 173 174 175 176 177 178 179 180 181 182 183 184 185 186 187 188 189 190 191 192 193 194 195 196 197 198 199 200 201 202 203 204 205 206 207 208 209 210 211 212 213 214 215 216 217 218 219 220 221 222 223 224 225 226 227 228 229 230 231 232 233 234 235 236 237 238 239 240 241 242 243 244 245 246 247 248 249 250 251 252 253 254 255 256 257 258 259 260 261 262 263 264 265 266 267 268 269 270 271 272 273 274 275 276 277 278 279 280 281 282 283 284 285 286 287 288 289 290 291 292 293 294 295 296 297 298 299 300 301 302 303 304 305 306 307 308 309 310 311 312 313 314 315 316 317 318 319 320 321 322 323 324 325 326 327 328 329 330 331 332 333 334 335 336 337 338 339 340 341 342 343 344 345 346 347 348 349 350 351 352 353 354 355 356 357 358 359 360 361 362 363 364 365 366 367 368 369 370 371 372 373 374 375 376 377 378 379 380 381 382 383 384 385 386 387 388 389 390 391 392 393 394 395 396 397 398 399 400 401 402 403 404 405 406 407 408 409 410 411 412 413 414 415 416 417 418 419 420 421 422 423 424 425 426 427 428 429 430 431 432 433 434 435 436 437 438 439 440 441 442 443 444 445 446 447 448 449 450 451 452 453 454 455 456 457 458 459 460 461 462 463 464 465 466 467 468 469 470 471 472 473 474 475 476 477 478 479 480 481 482 483 484 485 486 487 488 489 490 491 492 493 494 495 496 497 498 499 500 501 502 503 504 505 506 507 508 509 510 511 512 513 514 515 516 517 518 519 520 521 522 523 524 525 526 527 528 529 530 531 532 533 534 535 536 537 538 539 540 541 542 543 544 545 546 547 548 549 550 551 552 553 554 555 556 557 558 559 560 561 562 563 564 565 566 567 568 569 570 571 572 573 574 575 576 577 578 579 580 581 582 583 584 585 586 587 588 589 590 591 592 593 594 595 596 597 598 599 600 601 602 603 604 605 606 607 608 609 610 611 612 613 614 615 616 617 618 619 620 621 622 623 624 625 626 627 628 629 630 631 632 633 634 635 636 637 638 639 640 641 642 643 644 645 646 647 648 649 650 651 652 653 654 655 656 657 658 659 660 661 662 663 664 665 666 667 668 669 670 671 672 673 674 675 676 677 678 679 680 681 682 683 684 685 686 687 688 689 690 691 692 693 694 695 696 697 698 699 700 701 702 703 704 705 706 707 708 709 710 711 712 713 714 715 716 717 718 719 720 721 722 723 724 725 726 727 728 729 730 731 732 733 734 735 736 737 738 739 740 741 742 743 744 745 746 747 748 749 750 751 752 753 754 755 756 757 758 759 760 761 762 763 764 765 766 767 768 769 770 771 772 773 774 775 776 777 778 779 780 781 782 783 784 785 786 787 788 789 790 791 792 793 794 795 796 797 798 799 800 801 802 803 804 805 806 807 808 809 810 811 812 813 814 815 816 817 818 819 820 821 822 823 824 825 826 827 828 829 830 831 832 833 834 835 836 837 838 839 840 841 842 843 844 845 846 847 848 849 850 851 852 853 854 855 856

| 0-9| A| B| C| D| E| F| G| H| I| J| K| L| M |

| N| O| P| Q| R| S| T| U| V| W| X| Y| Z|

Razorcake Podcast Player



·RAKING BOMBS
·NOBUNNY
·RAMBLER 454
·BITTER END, THE
·CONFLICT
·GRAZE, THE
·VARIOUS ARTISTS
·VARIOUS ARTISTS
·HOWITZER


Black and Red Eye



If you live in the Los Angeles area and want to help us out, let us know.



Get monthly notifications of new arrivals and distro and special offers for being part of the Razorcake army.



 
Razorcake/Gorsky Press, Inc.
PO Box 42129
Los Angeles, CA 90042

Except for reviews, which appear in both, the
contents of the Razorcake website are completely
different from the contents of Razorcake Fanzine.

© 2001-2011 Razorcake/Gorsky Press, Inc. Privacy Policy

Razorcake.org is made possible in part by grants from
the City of Los Angeles, Department
of Cultural Affairs and is supported
by the Los Angeles County Board of
Supervisors through the Los Angeles
Arts Commission.
Department of Cultural AffairsLos Angeles County Arts Commission


Web site engine code is Copyright © 2003 by PHP-Nuke. All Rights Reserved. PHP-Nuke is Free Software released under the GNU/GPL license.